Masacre "Colombia... Imperio del Terror / Cáncer de Nuestros Días" CD will finally get "officially" released next week. This is a repress of a CD done by Obliteration Records several years ago, and was done as a cooperation between NWN and Obliteration.

Is the sound on this reissue going to be identically the same as on the Obliteration's original version?_________________Infernal Rock N' Roll: WWW.INFERNALROCKNROLL.BANDCAMP.COM

Wrathprayer CD is at the press. It should come back in two weeks or less.

Nice, I've wanted a copy to crank in the car and at work. The vinyl rip that leaked last year is pretty quiet._________________Good sellers/traders: metalmac, greenmonster, Transcendence, GoldenBull, Paria

I bought a friend's demo collection recently and will be selling off about half of it through my e store in the coming weeks. It's a mixture of late 90's/early 2000 black metal like Sargeist, Azaghal, Satanic Warmaster, Horna, Eternal Majesty, Merrimack, and old classics like Unholy, Thergothon, Sigh, Order From Chaos, Unpure, etc. It's well over 200 tapes so it'll take me a while to list them all. Prices will be fixed and non negotiable. The only way to purchase anything will be through the NWN online store. Please don't ask me anything important over PM because I don't check it regularly when I'm busy._________________Contact: nwnprod@gmail.com
Web: http://www.nwnprod.com/shop/index.php?main_page=products_new

(Description by J. Campbell)
It is rare that a band lives up to the promise of its initial recordings by the time it releases a debut LP. A band that releases a well-conceived demo or EP and immediately becomes engulfed in hype is often doomed to fail. Sacriphyx are one of those few bands for which the debut LP is represents both a continuation of the trajectory laid out in the band’s previous recordings and also a substantial step forward. Some years ago, NWN! received the “Lone Pine” demo CDr from the band. While unsolicited demos are usually disregarded, Sacriphyx became something of an obsession for NWN! due to the band’s unique, yet traditional, approach to metal. Sacriphyx have rushed nothing in arriving at the release of “The Western Front.” Since the 2007 release of the demo, Sacriphyx have moved at a deliberate pace having released only one split EP and a split 12” during the intervening years. (All of these tracks are also collected on the recently released self-titled compilation CD.) Conceptually, Sacriphyx remain focused upon the intricate dynamics of war. While war is an omnipresent topic within metal, it is usually described in a simplistic manner loaded with juvenile glorification. Sacriphyx take a different thematic and sonic approach. While certainly not dealing with the subject matter in an “intellectual” or “political” context, they instead capture the elemental aspects of combat: tragedy, valor, triumph and despair. The band’s distinctive music perfectly suits the imagery Sacriphyx projects. The band draws upon myriad styles and influences and “The Western Front” presents a broad array of sounds all drawn into the overall fabric of the album. Most notably, Sacriphyx call upon the legacy of Greek Black Metal, but recast the occult Hellenic sound in the service of the band’s melancholy and militaristic narrative quality. One also finds in the songs passages of forlorn doom and frantic black and death metal often intertwined with a traditional heavy metal sensibility. Sacriphyx is comparable to Arghoslent in its capacity to channel heavy metal influences through the lens of more extreme metal. The guitar work is especially integral to the songwriting as Sacriphyx adorns its epic tracks with lilting guitar solos. Even in the faster and more intense passages, Sacriphyx lays perfectly suited solos across the foundation of the songs. There truly is no band operating in the same territory as Sacriphyx at this time. Though fans were forced to wait for years for this anticipated debut, few, if any, will find anything remotely disappointing in it.

Necrobutcher are among the many legendary bands that emerged in the late 1980’s and gave birth to a primitive strain of Black Metal that is unique to Brazil. This LP collects all of the existing output from this band whose approach deviated considerably in certain ways from more iconic Brazilian Death Metal bands. Both of the demos as well as the rehearsal recordings featured here were recorded in 1989. Necrobutcher adhered to no particularly discernible set of rules. Their sound is rugged and blown out. Their songwriting lies predominantly in the space between Death Metal and Grindcore. Their imagery and lyrical content are decidedly blackened and blasphemous. Few of their songs extend beyond the one-minute mark with many clocking in at 30 seconds or less. Indeed, the only long track in their catalog is their cover of Sarcofago’s “Nightmare.” Most of Necrobutcher’s demo material is fast and violent. The guitars are brittle and wretched. The rhythm section is furious and out of control. Vocals, like distorted howls, saturate the sound when present. Brought together, the effect is alcoholic and unholy. Words do little to convey the effect of these demo and rehearsal recordings. Necrobutcher’s music is about sensory destruction and, as such, must be felt to be appreciated.

(Description by J. Campbell)
This collection of Rotting Christ material represents the genesis of the archetypal Greek Black Metal sound. Recorded after Rotting Christ’s debut MLP “Passage to Arcturo,” these recordings detail the accretion of elements that would ultimately collide in a magnificent manner on the band’s masterpiece “Thy Mighty Contract.” These recordings show Rotting Christ seeking the perfect balance between the epic and the visceral and are all deeply stained with the morose and melancholy romanticism that Rotting Christ perfected before anyone else. Rotting Christ illuminated this particular chamber of Black Metal permitting a number of other bands of varying degrees of quality to rush in and try to follow; however, rarely has there been a Black Metal band as successful as Rotting Christ in generating a sense of atmosphere and emotional depth while simultaneously maintaining the cataclysmic potency of the music. To honor Rotting Christ’s legacy, NWN! presents this 3 x 7” EP collection featuring reissues of the “Ade’s Winds” demo and the “Dawn of the Iconoclast” and “Apokathilosis” EPs. With artwork by Manuel Tinnemans and design/layout work by TLMNN, this is among the definitive releases in the Rotting Christ catalog. There will also be a 12” picture disc version of these materials available at the NWN! Fest where Rotting Christ will perform material from the band’s earliest releases.

Die hard version 1: 3 x bone colored vinyl 7"s with picture sleeves, 12 page booklet, case wrapped box, woven patch, vinyl sticker, and Manuel Tinnemans art tapestry. I only have about 17 of these since they were just leftover from the first press.

Tracks 1-3 from Ola de Violencia MLP
Self released by the band and limited to 500 copies first press and 500 copies second press
Recorded and Mixed at Midi Mix Studios in Medellín, Colombia, May 1990
Engineered by: Victor García

All songs by Masacre 1990, 1993
Licensed from Masacre 2011
Produced by NWN! Prod. 2011
Layout and graphic design by Justin Stubbs

For the past 25 years, Masacre have been among the most championed bands in the Medellin, Colombia Death Metal underground. After releasing several demos in the late 1980’s the band focused its sound into the cataclysmic masterpiece known as “Ola De Violencia.” This EP, recorded and released by the band in 1991 has for decades stood as a powerful testament to the potential for the oppressive darkness and massive power inherent in Death Metal. The three tracks on this EP reveal Masacre’s penchant for devastating and brooding riffs infused with melancholic passages that accentuate the morose atmosphere the band captures. Without warning, however, Masacre frequently erupt into violent blasts of evil, unleashing torrents of hate and aggression heralding the arrival of the more sinister Black Metal sound that was then beginning to cast its shadow across the metal underground. “Ola De Violencia” was far ahead of its time when it was released, but initially was almost unknown outside of Colombia until Osmose reissued the tracks on a split with Profanatica in 1992. After releasing their debut LP, “Requiem,” in 1991, Masacre returned in 1993 and unleashed the “Barbarie y Sangre en Memoria de Cristo” mLP. With that mLP Masacre refined their approach, tightening the production and adding greater dimension and technicality to the songs without sacrificing any of the brutality. These two releases exemplify what may arguably be characterized as perfect Death Metal production. These recordings cannot rightfully be described as highly produced, but neither can they be called raw or primitive. The recording quality suits the bestial and violent cacophony of sound in the more ferocious parts while simultaneously allowing for the technical and melodic elements of the band’s style to emerge out of the dense roar of chaos when necessary. The depth of low-end bass is expertly offset by the mid range guitars, and the percussion is often utilized instrumentally rather than a mere mechanism for keeping time. The vocals, slightly affected with reverb, are controlled and savage – demonstrating intentionality in the placement and execution. The songs also feature occasional bursts of the razor-like, harsh high end guitar sound that is often the centerpiece of so much South American and particularly Colombian metal as well as strategic use of organs and keyboards to enhance the macabre element within the music. What really contributes to the success of these recordings is Masacre’s exceptional ability to merge rabid hostility, atmospheric darkness, and stylistic technicality. One would not be faulted for suggesting the possibility that no other band so masterfully achieved this goal in that era of Death Metal._________________Contact: nwnprod@gmail.com
Web: http://www.nwnprod.com/shop/index.php?main_page=products_new